Art in the Age of Pluralism: the Art Criticism of Lawrence Alloway

多元主义时代的艺术：劳伦斯·阿洛韦的艺术批评

• 批准号: AH/F00396X/1
• 负责人: Nigel Whiteley
• 金额: $ 3.8万
• 依托单位: Lancaster University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF00396X%2F1
• 关键词: Art; Age; Pluralism; Criticism; Lawrence

Pluralism is a major issue in the contemporary world, with political, social and cultural implications. In the cultural realm, pluralism raises issues about value and values: whether we critically embrace plural value systems, or merely uncritically and almost unconsciously accept them; or whether we assume that some value systems are more valid and even intrinsically 'better' than others.In terms of art, the distinguished historian Benjamin Buchloh recently wrote: 'One response to [the] new historical conditions governing the art world... has been to embrace the principle of a totally noncommitted pluralism. It is not even clear whether that principle originated in political conviction or whether this default position simply resulted from both indifference and de-differentiation (of criteria, of judgment, of a commitment to history or anything whatsoever).' (Artforum, 2005). Throughout his career, the critic and theorist Lawrence Alloway was very aware of the inadequacy and danger of this type of pluralism, arguing that 'A criterion of diversity, cued by the production of art as a whole, is not the same as tolerance or goodwill on a basis of indifference.' (Art in America, 1977)In order to avoid an art world in which everything, on the one hand, is passively and uncritically accepted or, as it had under Clement Greenberg's influence, was made to conform to a single set of criteria, Alloway argued that'...a real pluralist aesthetics would have to relinquish pyramidal and stratified forms of order to allow multiple possibilities and real oppositions of direction within the general field of art.... A pluralist aesthetics, which allows for irreconcilable differences of taste between people, for multiple possibilities within an individual's choices... is demanded by the pattern of the communications network in which we all experience art today.' (Canadian Art, 1966)Pluralism remains a key issue in contemporary art, underlying the surface of many debates and controversies. Its dominant mode is what Buchloh terms the 'liberal-pluralist model' that usually results in a situation of laissez faire and a diminution of critical responsibility. Alloway's understanding of, and approach to, pluralism offers an alternative that was important historically, but which still has great contemporary relevance. The research/book is divided into three parts:1) 1949-1961: ContinuumThis stage was dominated by Alloway's working through of the continuum model of culture during and after the activities of the Independent Group. Pluralism was expressed as a spectrum of diverse, overlapping possibilities rather than as the conventionally ordered hierarchy of certainties. Alloway embedded the model in writings about not only art (primarily), but also movies, graphics, design, interiors, and architecture and the city. 2) 1962-1971: AbundanceAlloway argued that critics had to come to terms with a wide range of art practices and values, because prioritising any one tendency was to close down other options and possibilities. Within this pluralist situation, the main task for the critic was to interpret new forms of art, and to develop a critical mode that was founded on a positive acceptance and understanding of abundance. Abundance was a new social condition and value, replacing restraint and scarcity, and art should reflect society. 3) 1972-1985: AlternativesThe Vietnam War had an impact on a significant number of leading artists and critics from the early 1970s, and led to the formation of the Art Workers' Coalition. Alloway was involved in the debates concerning the representation and selection of artists by museums and galleries in terms of gender and ethnicity. However, his greatest influence was as a critic of feminist art. Pluralism was now viewed in terms of socio-political diversity as opp

多元主义是当代世界的一个重大问题，具有政治、社会和文化影响。在文化领域，多元主义提出了关于价值和价值观的问题：我们是批判地拥抱多元价值体系，还是仅仅不加批判地、几乎是无意识地接受它们;或者我们是否认为某些价值体系比其他价值体系更有效，甚至在本质上更“好”。在艺术方面，杰出的历史学家本杰明·布赫（Benjamin Buzih）最近写道：“对支配艺术世界的新的历史条件的一种回应.就是接受一个完全中立的多元主义的原则。甚至不清楚这一原则是否源于政治信念，或者这一默认立场是否仅仅是冷漠和去分化（标准、判断、对历史的承诺或任何其他东西）的结果。（Artforum，2005）。在他的整个职业生涯中，批评家和理论家劳伦斯·阿洛韦（Lawrence Alloway）非常清楚这种多元化的不足和危险，他认为，“由整个艺术作品所暗示的多样性标准，与基于冷漠的宽容或善意不同。（《美国艺术》，1977年）为了避免艺术世界中的一切，一方面，被动地、不加批判地接受，或者像在克莱门特·格林伯格的影响下那样，符合一套标准，阿洛韦认为，“......一个真实的多元主义美学必须放弃金字塔式的和分层的秩序形式，以允许在一般艺术领域内的多种可能性和真实的方向对立。多元主义美学，允许人们之间不可调和的品味差异，允许个人选择中的多种可能性。是我们今天所体验艺术的交流网络模式所要求的。（加拿大艺术，1966）多元化仍然是当代艺术的一个关键问题，隐藏在许多辩论和争议的表面。它的主导模式是布赫所说的“自由多元主义模式”，通常导致自由放任和减少批判责任的局面。阿洛韦对多元主义的理解和方法提供了一种在历史上很重要的选择，但在当代仍然具有很大的意义。研究/书分为三个部分：1）1949-1961：连续体这一阶段是由阿洛韦的工作通过连续体模式的文化期间和之后的独立小组的活动。多元主义被表达为一系列不同的、重叠的可能性，而不是传统上有序的等级制度。阿洛韦不仅在艺术（主要是）方面，而且在电影、图形、设计、室内设计、建筑和城市方面的著作中嵌入了这种模式。2)1962-1971年：AbundanceAlloway认为批评家必须接受广泛的艺术实践和价值观，因为优先考虑任何一种倾向都是关闭其他选择和可能性。在这种多元化的情况下，批评家的主要任务是解释新的艺术形式，并发展一种建立在积极接受和理解丰富性基础上的批评模式。自由是一种新的社会状态和价值，取代了限制和稀缺，艺术应该反映社会。3)1972-1985年：替代品越南战争从20世纪70年代初开始对许多领先的艺术家和评论家产生了影响，并导致了艺术工作者联盟的形成。阿洛韦参与了关于博物馆和画廊在性别和种族方面代表和选择艺术家的辩论。然而，他最大的影响是作为一个批评家的女权主义艺术。多元主义现在被视为在社会政治多样性方面的opp